#he does not then fundamentally change his life style

[daydreamerdrew]

Captain Marvel Adventures (1941) #51

[artbyblastweave]

Years and years and years back, I was tinkering with a concept that, at the time, I hadn't seen done before, which was to do a Fables or Once Upon A Time-style mass-fairy-tale-retelling in a soft-sci-fi space opera/planetary romance setting. I remember a couple of overarching concepts. One was that the classic Fairy Tales being remixed with increasingly outlandish genres was an actual metaphysical conceit of the setting; the big bad was going to be King Arthur, who, due to his nature as the one who cyclically dies and returns, had become cognizant of all the times he'd lived through the same shitshow but with a wild west veneer or an urban-fantasy veneer or a mad-max veneer or a coffee-shop-AU veneer, and on this-go around, he'd decided to use the planet-shattering imperial might of space!camelot to attempt a suicide run against the entire universe in the hopes of deviating from the script strongly enough to break the cycle. (Note that all of this came from a place of total ignorance of Arthurian lore, which is in part why I never pulled the trigger on it- I felt I had reading to do.) The other character concept that stuck in my head was that there was this tertiary character who was the classic space-western gunslinger- constantly swooping in at the last minute to bail the heroes out, rugged and squinty-eyed, effortlessly laying waste to vastly superior opponents with nary a thought. Through context clues (such as his ability to fly in outer space under his own power) it was eventually going to be made clear that this was supposed to be the setting's version of Peter Pan. Prior to the Space Opera cycle, Neverland’s conceptual gravity as a place that fundamentally does not change allowed it to avoid being reset at the end of each cycle; Peter's cavalier attitude towards life and death was informed by the fact that no matter how many times Hook dies, no matter how many times the Darlings visited and departed, they'd always eventually come back, albeit with mannerisms informed by whatever conceit was currently dominating the rest of the universe outside Neverland. Unfortunately, for the space-opera cycle Hook showed up as the captain of a star-destroyer-type thing and unceremoniously glassed Neverland from orbit, ending the party for good. Peter then finally took the plunge into quote-unquote "adulthood" in order to adopt a vengeful-pursuer role- indeed, he stakes a lot of his present identity on the idea that he was finally "forced to grow up"- but it's of course obvious to anyone who gets remotely close to him that he's only become "more mature" in the way that the gratuitous blood-and-guts Liefeldian anti-heroes of the 90s positioned themselves as a mature alternative to the cornball antics of the silver age; all he's done is trade up to a slightly more involved Juvenile power fantasy, still equally divorced from adulthood even if he looks 35.

[vaultdwellerbarbie]

dating javi: headcanons

javi rivera (twisters)/reader

content warnings mentions of tornado, one reference to sex

sometimes i feel like it seems like i'm in love with anthony ramos. to set the record straight, this is because i am! but his birthday is 4 days before mind (different year) so i think i'm genetically predisposed to be.

PRIOR to losing his friends, javi was definitely a lot less mature and a lot lazier. that's not to say that he would have been a bad boyfriend at the time, but sometimes you're dragging him out of bed.

he was also a big snacker (he was still a snacker afterwards), those lime hot cheetos might taste good eating them but when you've just brushed your teeth and you go to kiss him and that's the first thing you taste it can be a bit jarring - he thinks it's funny when you make fun of him and tell him 'no more kissing' until he brushes his teeth.

he lets you style his hair for sure, since he has it longer he's definitely willing to let you brush it and style it for him.

he also strikes me as the kind of guy that might be a tiny tiny bit possessive, especially since he was in college at the time, so if he's not trying to leave a hickey he's giving you his clothing so you can wear it around.

he's also very sweet, though. he can be moody in the morning especially when he had been drinking the night before, but even then he tries his best to be nice to you. he for sure falls very hard, so he's going to treat you like you're the only person in the world that matters to him.

he's also going to go out of his way to treat you! i can see this being a few different things. on the spicier end, i definitely think he aims to please and he's not selfish whatsoever. but in general, he's going to buy you things and he's going to treat you to dinner and even if he's too lazy to make his own bed he'll make yours while you're in the shower so you don't have to do it.

you also need to clean his room together because he's too lazy to do that, but it's okay.

AFTER losing his friends, javi is a lot more mature and takes better care of himself but he's also fundamentally changed.

losing people like that makes him a lot more aware of your mortality and the fact that he could lose you in an instant - he's going to be a little clingier, but he's also going to be a lot more protective. if anything seems like it would put you in danger, he's going to be the first one to let you know and the first one to put a stop to it.

he's still possessive, but that paired with him being protective can mean that he's going to argue with someone who dares to look at you the wrong way until you tell him that he should probably stop.

he's neater, but that's something that he developed from being in the military. a lot of his bad habits were unlearned, so he's going to be a lot cleaner and more organized and he tends to wake up earlier in the morning.

even though his hair is shorter now, he seems like a guy who likes the feeling of his partner's fingers running through his hair.

he's still playful, even though he's been through a lot. he has a nice smile and he recognizes that you really like it when he smiles. he's still a total sweetheart to you even though he has his own little issues going on with storm par.

he does try to distance his personal life from his work, mainly because he's not always happy with his work because he's not making a difference like him and his friends had originally planned. he can sometimes get upset when thinking about work.

he also gets upset when thinking about the past, so on an anniversary of what happened, expect that you're going to be comforting him.

if you're ever going through a bad storm together, trust that he's incredibly, incredibly protective. even if you're not particularly scared, he's making sure that you're safe and holding you so you're not in any danger.

just general headcanons, he likes physical affection and he likes to touch you. sometimes it's kissing, sometimes it's holding hands. he does find it cute when you trace his freckles.

you're probably the only person he actually stands up for before leaving storm par if someone on his team says something rude to or about you - eventually, they recognize that you're off limits in terms of insults.

even though his life is pretty busy, i do feel like javi would want a family at some point.

he also does strike me as the kind of guy who pays for every date until you stop telling him to pay for every date because you should both be paying.

he also just likes learning about your interests and he never forgets them. if you tell him about something that just moderately interests you, that's something that he's going to remember and - if possible - it's going to come up as a gift in some way, shape, or form.

javi also seems like a hand kisser, like he's going to kiss your hand. but he's also going to kiss your cheek, and your forehead, and he also probably gets a little awkward when you kiss his cheek because you always always go for the cheek with the most freckles even though it's endearing to him.

[vinyls-and-valentines]

The most noticeable thing that changes about the Fabulous Killjoys is the way they fight.

Fun Ghoul, although blessed with a knack for chemistry and mechanics, has unsteady hands. While this does not impede his work with electronics and explosives, it makes him a slower shot than most due to a shaky aim worsened by recoil. Because of this, in his early days in the Zones, Fun Ghoul relied primarily on incendiary devices and his own physical abilities to dispose of opponents in an area all at once. The downside of having a combat style based around such tactics however, is that it meshes poorly with the mid-to-close-range the Fabulous Killjoys have developed over the years (in no small part due to Kobra Kid), and thus led Fun Ghoul towards a style focused more on dodging hits and making decisive point blank shots or further sacrificing accuracy for the sake covering a wider area.

Jet Star, is the opposite of Fun Ghoul, in the sense that he has exceedingly steady aim born out of years of practice and a greater-than-life sense of competition, but can struggle to move effectively due to his size. As such, it perhaps comes to no surprise that Jet Star used to prefer long-range fighting, neglecting close-range in favour of playing up the fear factor of both his skill and affiliation with some of the Zones' most infamous snipers and gunslingers. That doesn't mean that he was useless in a close-range fight, of course, however his movements were simple, predictable, and incredibly limited, which put him at a disadvantage against anyone with more experience or endurance than him. Jet Star's current style hasn't as much shifted in order to accommodate the others' as it evolved alongside Jet Star as he learnt to direct his body as deliberately as his shots even when it comes to close quarters.

Party Poison has always been a flexible fighter, and it is this very adaptability which highlights just how purposeful their attacks truly are. In the grand scheme of things, nothing fundamentally changes about Party Poison's fighting style outside some improvements in their aim and the variety of their movement as they learn to fight alongside other people, however, the intent with which they fight does. As a young killjoy, whether consciously or not, Party Poison's intent in a fight was to always harm the oponent, prioritizing ways in which they could incapacitate them without having them lose consciousness or simply inflicting as painful an injury as possible to attain their goal. This intent then gradually shifts towards a desire to protect others from the cruelty Poison's own fighting style reflected back at the world because despite the cruelty of their actions they had never done it because they enjoyed it.

As candidate to become an exterminator, Kobra Kid's fighting style used to something akin a swiss knife, however much more calculated and deliberate. While trying to figure out its way through the Zones, Kobra Kid relied on any weapon available to it, going through a wide variety of combat and more often than not pushing aside his distaste for blasters in favour of having a weapon which was effective and easy to replace. Having Jet Star, Fun Ghoul, and even its sibling by its side, allowed Kobra Kid to focus on its unarmed combat and blade-wielding, casting long-range combat aside in favour of a style which gave it better control over the situation, enabling it not only to easily dispose of opposing combatants due to its athleticism, but to also support its crewmates in situations where long-range combat is the favourable approach

[da-janela-lateral]

MP100 S2E01 under a writer's perspective

The Emi Fukami episode in Mob Psycho 100 was a beautiful display of Mob's character development in relation to his individuality and a earnest vision of emotional vulnerability, but I want to call attention to a single detail: Emi being a writer.

Out of all the secret truths that the cast masks during the narrative, Emi's must be one of the most mundane. She is writing a book. She doesn't want people to know about it, much less read it, as Emi was led to believe this hobby of hers was embarassing.

I find it very interesting that Emi, character whose focus episode revolves around vulnerability, has writing has her main passion. In a way, writing is one of the most revealing art forms that there is. Literary choices are a reflection of the author's context, beliefs, likes and dislikes, fears and dreams, even though many of these choices cannot be perceived in a sensible level. Even if I suddenly decided to write a tale about a random theme - you say, a blue-footed booby who becomes an architect while wearing ballet shoes - it would say something about me. It could be a preferred text type, my sense of humor or even my idea of what is "random". Word choices, rhythm, figures of speech, themes, narrative structures, spins on a literary genre's expectations - all of these and more consist of conscious or unconscious decisions made by the writer. Writing as an art form serves as a mirror to the artist's very mind.

As a result, a piece of text can be a very delicate thing. Many people would only reveal their works to a exemplarily trusted someone, or to no one at all. That's the origin and end of uncountable masterpieces. It is also associated to passion. Few are the writers who characterize themselves as such and don't feel a duty to write. Yes, duty. Not all pieces are a labor of love, but it's almost universal that they're one of resolve, as little as it might be. One can unlock a fundamental will to write something in spite of it being weary work. At this point, for many writers, it's not a simple hobby. It's a need. It's a compulsory manner of expression hardwired onto our brains; thus, it's an inseparable part of who we are.

So what does any of this have to do with Emi's arc?

S2E01 is all about being vulnerable. Even though Emi had only asked out Mob because of a bet and hanged out with him for a week, she felt safe enough to show him her book. Her own friend group didn't have an idea that she was working on one, and once they discovered this, they ridiculed Emi's effort and teared it to shreds. Emi tried to alleviate this rejection by affirming she didn't care for her work, while everything shown previously on the episode proved this was wrong. In turn, Mob uses his psychic powers to put back her text together - his first public demonstration of them since he was a child. Mob was honest about himself by revealing he was an esper. Emi was honest by wanting his opinion on her book.

Emi is a fourteen year old girl going through a confusing and ever changing phase of her life. After doubting on Mob's emotions, she tells him that she too doesn't know well who she is, and her actions around her friends prove how she was prone to peer pressure. Her mind and identity were on an uncertain state, and this would also reflect on her writing. Emi uses complicated words, perhaps to make her writing sound more serious. Based on a translation of her work "Adventure", she uses more of a stream of consciousness prose and ambiguous descriptions. She immediately decides to write something different after her experiences with Mob. Emi has a personal style! She has techniques and topics she enjoys and active choices about how she will employ them! Emi has a bit of her on her story and this was why she hid it so much: a mockery of it would be synonym of a mockery of herself.

This is what makes the plotline with her book so important to express the episode's themes. Emi felt insecure to reveal such an integral part of herself to the world until someone came and not only took it seriously, but appreciated it enough to make an effort to understand it better. It tells a lot how Mob's demonstration of caring made her leave the people who destroyed her work.

As a writer, this detail gave a whole another layer of significance for the episode. I've felt Emi's struggle in a very intense level on the past. Storytelling is something so dear to me I can't see myself without the adjective of "writer", but the acknowledgement of my work would be the same as exposing myself to the world. It can be scary at times, to divulge something so sincere to others. However, such is the writer's role: divulging. For reasons long unknown a magical excess of words was born to me, and this coincidence can't be supressed and abandoned on the dark. There is something I can offer copiously hand in hand and its words. Words. Words. Words... And the reflection of me resonates on others.

[its-no-biggie]

okay i just finished rewatching fma brotherhood and can we please talk about how fuckin 15 ed is. like lots of anime protagonists are 15 but ed is *so* 15.

like- he needs to disguise the car so he makes it into a 15 year olds idea of a really cool car, and its so cringe the adults force him to change it. he makes ling a sword and puts a little skull on the handle (for literally no reason except that he presumably thought it would be cool, even though they were in the middle of getting their asses kicked by envy) and then gets defensive when ling calls it lame. he gets riled up unbelievably easily over NOTHING. his fighting style is scrappy- hes experienced but not disciplined, and he'll use whatevers on hand to get the job done. he'll mess around in the middle of a fight, use unnecessarily flashy moves/weapons, and hes just generally a nuisance in combat. he gets really flustered when people insinuate that winry is his girlfriend, and then when he DOES confess to her 2 years later he uses a fucking alchemy metaphor because hes a NERD.

im saying all of this with affection by the way- hes a cringe 15 year old because 15 year olds are cringe! i feel like most of the time these high school age protagonists are basically just adult characters with more naive ideals, or theyre a bit more emotional, or they have "childish" interests. ESPECIALLY with these high stakes action-adventure stories, where the fate of the world is in their hands. but a kid can have the weight of the world on their shoulders and still handle their emotions poorly, act recklessly, goof off at inappropriate times, and generally think and act in a way that adults wouldnt. and still be mature and competent characters! i mean, ed is a GREAT protagonist. he has a full understanding of the stakes and he knows how and when to get serious. but he also does shit like breaking into a secret government laboratory, alone, in the middle of the night, with no plan, and nearly gets himself killed in the process. because hes a reckless kid! and if he HADNT done that, they never would have found out the enemys plan in time!

and its just so perfectly executed- instead of childish traits being sprinkled on top of adult problem solving and emotional regulation, him being 15 informs how he acts all the time! sometimes this is a good thing because he solves problems in a unique way, and sometimes it causes even MORE problems. its a fundamental aspect of his character that contributes to both his strong and weak points.

and my absolute favourite part is that hes still treated like a person worthy of his title and reputation- not only by the adult characters, but by the narrative itself. but he isnt treated like an adult either! the adults around him dont talk down to him, but they also dont have adult expectations of him. theres a whole bit about how the adults shouldnt stand by while the children are on the battlefield- insinuating that while the children are worthy of standing on the battlefield alongside them, they also feel some responsibility to lead them since theyre the adults. which is super reasonable! its probably the best take on adult mentor figures for child main characters ive ever seen.

and yeah theres an argument to be made that it was pretty fucked up of mustang to recruit ed to the military at 12 years old. but he was super upfront with him about what it would entail and didnt force him into it. so watching it as an adult, yeah, its fucked up. but the target audience is kids and thats how kids want to be treated! yeah its a lot of responsibility, but ed knew that going in AND he has a huge support network of trustworthy adults who are looking out for him. hes fine. and hes DEFINITELY better off than most high school age protagonists, who are just sort of thrust into high stakes, life-threatening situations with little guidance. the dynamic is less "you are The Chosen One who will singlehandedly save the world" and more "i mean you certainly have the skills and we really appreciate you working with us but what the fuck is a child doing in the military. who authorized this?? youre going to get yourself killed PLEASE be more careful!" and like. if youre gonna have a show about a 15 year old saving the world, then thats definitely the way to do it.

and what really seals the deal is how pissed ed gets when people treat him like a kid. thats the most 15 year old thing ever! he FEELS like hes being talked down to and disrespected just because hes not given the same expectations and responsibilities as the adults. watching it as a 20 year old im super impressed by the way the adults treat ed, but i can also understand why ed gets so frustrated. its the nature of being a teenager and thinking you can handle more than you can. which really just solidifies how fuckin 15 he is

btw im not saying ed is the only well written teenager in the show. hes just the clearest example- hes so LOUD about who he is and it makes it really easy to talk about his character traits. also hes like my favourite character ever and i just have to talk about him. so like al and the rest are also really convincing kids, and a lot of this stuff kind of applies to all of them! im just talking about ed because i want to lmfao

[dailyadventureprompts]

Dear Dapper - you're so great at helping me think through ideas and creative blocks, and you have such great thoughts about DnD religions, so I hope this question is perfect for you. (Forgive the length, feel free to trim in any posting).

Our campaign is set in a world where the gods found some "clay" and sculpted a world out of it. Most of the various plots stem from the earliest, most powerful creations having various emotions about this act (resentment and reformation, jealousy, an overextended sense of ownership, or feeling they can redo it better). In the past, the sense of resentment led to a war where the traditional, but respected, judge-like, ferryman-style psychopomp god of death was killed. He now exists as a partial remnant, God of Undeath - the dark moon. The other gods then fled, abandoning creation.

My character started as a cleric of the light moon goddess, and as perhaps the most mythologically invested player, I've been expanding to become pan-theistic - trying to round up what remains of divine power into beneficent hands (ie, against the bbeg). In a recent story arc, a part of his soul was stolen, then given freely to this God of Undeath.

The God's angry (presumably about being killed - the how is an upcoming plot point). He's viewed as asleep, and wants to 'wake' the living world into undeath. His worshippers are secretive necromancers and the undead. Otherwise his themes so far are generally gothy, macabre and evil.

I think my character's desire is to try to restore him in some way, or at least, 'wake' him into some element of his former neutral/benevolent self. As a player, I want to toy with the scary, gothiness of this change, and dance with temptation a bit. As both, I want to find some good or positive elements to the Undeath angle that I can spin.

What ideas does this generate for you? In particular, what are some positives from undeath that I could play with? Why would a normal living wizard fall into the necromantic worship of this 'deity' (other than the selfish desire for immortality as a lich or vampire)?

Thanks for any thoughts you might have!

Fundamentally any depiction of the undead are really a portrayal of our relationship TO death, and the many reactions we can have regarding it's suddenness, tragedy, and inevitability.

A god that's angry about their own inevitable demise strikes me as one that's stuck mid way through the seven stages of grief, a state not unlike undeath because it leaves those trapped in it unable to move on. Cultists might think they're gaining immortality through undeath but really they're trapping themselves in bereaved stasis.

The ultimate resolution then is taking steps toward catharsis and acceptance, of letting go, and coming to terms with the loss as a form of exorcism. Perhaps your character also had a significant death in their life and had trouble moving on, and wants to give this god the same hardwon peace they finally achieved, or achieve it by working things out through this god.

I find it interesting that "gothy" is a term that's brought up multiple times in your description, because one of the big parts about goth subculture (other than a kickass music scene) is a philosophy that asks us to not shy away from the fear of death but instead look at it head on, unpleasant as it is, and say " I embrace you and in doing so I acknowledge how great life really is"

[bengiyo]

We Are Better Together: Why I Enjoyed the Our Skyy 2 Crossover

I enjoyed this four-part special with every part of my being, but I’m a gay man in his thirties that often feels like I understand exactly where Aof is coming from in his work. As I’ve said many times on this block and in @the-conversation-pod, I desperately want more stories about gays sticking together alongside all of the stories about discovering love. For so many reasons, I love that Aof chose to use Pat and Pran as a catalyst to help Tian and Phupha, and in turn compare their relationship with another couple experiencing some of the same challenges lets them see themselves properly. I have a lot to say, so let’s just get into it.

Funding A Tale of Thousand Stars

There is no way Aof was going to be able to produce a Tale of Thousand Stars special without merging the Bad Buddy budget. If you start from the fundamental problem that it’s expensive to film on a mountain, we need to find a problem that works well. At the end of ATOTS, Tian and Phupha agree to stay in Pha Pun Dao together, but there’s no way that can work forever. Tian has medical needs and a family in Bangkok. We also never resolved the lingering doubts and uncertainty that plagued Phupha in the story, since we focused on Tian’s journey.

With Pat and Pran, they were set on their commitment to each other after episode 11. They are just hiding themselves in college, and won’t experience any changes without some form of outside stimulus. Likewise, Tian and Phupha live in a bubble. I love the idea of shoving these four men together and seeing what comes out of it.

Playing with Archetypes and Expectations

I particularly like Aof shoving these four characters together because it allows Aof to further poke at our expectation and assumptions about BL characters. Aof is aware of the cultural understanding around seme and uke archetypes, and the decision to style Pran to physically resemble Tian is not subtle. However, as we move through the special, we realize that Pran has more in common with Phupha than he does Tian. What a gift that is from, Aof.

Aof invites the viewers through Pran to consider where they sit as viewers in these stories. We are often asked to ride along with our primary viewpoint character and see the world through their lens. Sure, we can challenge their lens, and ask the audience to grow along with the character, but I truly love the way this story hands the lens over to Phupha as we move through this special. As a gay man in his thirties, I am particularly fond of Phupha and the decision to focus on him.

It is hard growing up the way some of us did. We don’t have BL experiences like the ones we fawn over in these shows. Life was hard. We suffered. Some of us are stuck performing a version of masculinity that we haven’t ever been able to unlearn. I continue to present normie because it’s what I was trained to do. I make use of it as the face of my local queer circle. I talk to the government when we need someone who won’t get ignored right away, just like Phupha dedicates himself to the people of his village.

We might expect Pat and Phupha to mirror each other because of their physicality, but that breaks almost instantly. They’re unlike each other. The first allusion to this comes in the reminder that Tian is an engineer, and so is Pat. Additionally, Phupha rejects Tian’s diary immediately because he only gives it a surface reading. It’s only once he gets to know Pran and Pat a bit, and really listens to what Tian is saying that he starts to wake up.

I personally loved seeing these characters get lost in the woods and spin around each other for an entire episode. The best thing you can do when you’re lose in the woods is stay where you are and wait for rescue to find you. Tian can’t do that, and honestly neither can Pat. The common thread between them is how antsy and foolish they can be. Tian went all the way up a mountain with a weak heart the way only a fool could. Pat rushed after Pran to the wilderness with barely a plan because all that matters is getting to Pran.

Like many of the baby gays we sometimes help with volunteering, I wish they would just sit still and let us find them. They’re in such a hurry to grow up and do all the big gay milestones that they’ve envisioned for themselves, but it just doesn’t work like that. Sometimes you have to just finish school and become financially independent. Sometimes you need to let your partner get the help they need and the right diagnosis to manage their neurotic behaviors. Sometimes you need to just having someone beg you to just sniff your boyfriend and get over yourself. Sometimes you need someone who actually understands the weight of internalized homophobia you carry validate that it’s hard. Sometimes you just need to accept that you are now a “we” and admit openly that you can’t live without each other.

You Blame the Rebel That You Sold Out

I’ve been thinking a lot about the instinct I’ve noticed to pick apart the creative team when people find they aren’t enjoying a show for some reason. I wrote about this first during The Eclipse, and I’m feeling it again here. As I said there, I’ll say here: It’s okay to say you didn’t like something and didn’t find this to be your taste.

I’m a lifelong Star Trek fan who can’t watch Lower Decks because I find American animation to rely on a loud quality that I find overstimulating. I also don’t appreciate Seth McFarlane’s brand of humor. I didn’t get into Star Trek: Prodigy because it’s aimed at kids in a way that I found a bit boring to engage with. I think Star Trek Picard is overall pretty bad and a waste of nostalgia. I still love Star Trek, and find things worth engaging with every time I sit down and watch new things.

I recently attended a Matchbox Twenty concert and have been thinking about the song “Rebels” from their new album Where the Light Goes. There’s a portion of the lyrics that I think best covers how I feel about this instinct to turn on the creators when they do something you don’t like with characters they created.

And it's all exciting You were so alive Like a wheel in motion You were terrified you'll lose it Hell, everybody loses It was never how you wanted Now it's never good enough We're all rebels when we're young I think it's time you let it go now When you get angry with yourself You blame the rebel that you sold out You blame the rebel that you sold out That you sold out Let go and be yourself right now Let go and be yourself right now Let go and be yourself right now Let go and be yourself right now

It’s all fun and games when experiences are new to us. We’re excited to be in this new untested space for the first time, but we are all changed by it. We bring different lenses and experiences to the table. We take different things from the stories, and our tastes change because of these experiences. Then the creator comes back with a new season or new outing with these characters and they have different things they want to focus on this time. It’s not what we wanted, and so we turn on them. The only way out of that is to let go and see who you are now.

Aof is a gay man who is working at a major company to tell meaningful queer stories. Aof clearly knows that life is the future, not the past. He’s committed to bridging us to a better world for queer people so that we can see each other more.

We Are Better Together

I love that Pat and Pran met Tian and Phupha. I love that these characters made each other better in the brief week they spent together. I like that they became friends and expanded their queer circle. Your relationship is not the only component you need for stability in your life. You can get stuck in a rut. You need other people to talk to you. You need outlets for your frustration. You need friends to remind you that you’re being obnoxious, and maybe you should just have sex and see if the issue is still there.

Tian and Phupha were not at their best alone. Pat and Pran were not at their best alone. I love the idea of a lonely Pran looking for queer connection on the web and discovering Tian’s diary. I love the romantic notions he projected onto Tian and seeing them shattered by the intense physical reality of life in Pha Phun Dao, and his interactions with Phupha.

About ten years ago, we had a member of our circle who tried to view our group through the lens of Noah’s Arc, and he struggled with fact that we didn’t fit exactly. What a joy it is to realize that your own queerness is distinct in this world, and that you and your friends are special. Bad Buddy and A Tale of Thousand Stars are BETTER for me now that they’ve touched each other.

I love that Phupha finally let Tian love him the way Tian wants to. I love that he let go of his concern about Tian’s wealth. I like that he let Tian’s parents see him properly and extend to love to him that he’s given their son. I like that he finally let’s them thank him for helping their son find stability and purpose, because Phupha maybe doesn’t appreciate how much of a fuck up Tian was being before the transplant. I love that Phupha found it in himself to propose to Tian. I love that Phupha let Tian take charge in the bedroom. I love that Phupha gave Pat and Pran the gift of sharing their love on a stage to adoring fans, and giving Wai a chance at redemption. Pran got to see people finally cheering for their love online.

I can’t claim to understand everyone’s frustrations with this special, and I won’t pretend to. However, I wanted to say quite plainly that as a gay viewer who has appreciated Aof’s work for years, I was particularly touched by this crossover. I don’t care about the balance other seem concerned about between Pat and Pran. I don’t care about how much they did or didn’t talk. All I know is that since episode 5 of Bad Buddy, Pat has shown that he’s all in on Pran and has never waivered. I like that so much of this special was about Pran finally accepting the way Pat loves him, just like Phupha learned to accept the way Tian loves him.

It really is as simple as the final sequence for Pat and Pran for me. It’s Pat asking if they can finally kiss and Pat and Pran again and finally getting that, Pa interruptions and everything.

So, I hope everyone finds peace with reactions to this special. I am completely satisfied, and excited to see what Aof wants to say next in Last Twilight, despite my reservations about Jimmy.

[exilepurify]

I really love how Teruki’s hair acts as a barometer to his personal development. It’s so true-to-life for teenagers (guilty of this).

His hair drastically changes whenever something big happens that affects his outlook on life or his sense of self, and it’s exactly the same as when your friend would show up to school one day with an extremely different hairstyle, maybe even dyed a different color, and you’d think like, “Something must have fundamentally changed in your life’s trajectory and your personal understanding of it”. (Honestly, being a teenager is just a series of these moments strung together by homework and video games.)

And every single time his hair changes, it’s against his will. Sure, he usually chooses how to style it afterwards, but both of the Kageyama Scalping Incidents, Sakurai’s hair chop, etc. were against his will. But without fail, it always happens at a major emotional turning point in Teruki’s life. Him being snapped out of his superiority complex (mostly), him being influenced by Reigen’s 1000% and finding a passion for teaching, Mob breaking his own pedestal with the Confession accident, etc.

Teru’s gonna walk into a room at some point in the future with a totally different hairstyle that he chose for no real reason at all, just to shake it up, and everyone’s going to be like Oh My God Teru What Happened and he’s gonna be like, “????? Does it look that bad???? 🥺”

[moralesmilesanhour]

I'd love to hear what fundamental issues you have with spiderverse... 🎤

Hm I'm just gonna rattle off a few from most to least important before I forget (note: some of my issues with spiderverse are less about the concepts or characters themselves but more about how the writers or producers chose to handle them, or even just exploring the possibilities of what could've been. I still think it's a really excellent movie and complex story.)

If you're someone that skims through longer paragraphs a lot, I've also put my most important points in italics so that you get the gist of what I'm saying :)

Making Miles' story about everyone else but Miles. I understand that Miles' whole thing in Spiderverse is that by defying the odds, he inspires the people around him. But there's a certain point where the story become *about that* and the other characters more than him and his interiority. In its efforts to focus on his growing into the mantle of Spider-Man, the films only kind of allude to the fact that he has a life outside of the mask. His mental health and relationship to his community are pushed to the wayside so much that even Ganke is only on-screen for a few minutes at most.

(This is a long one sorry) Spiderverse as a movie doesn't seem to know for sure whether it likes cops or not. It presents the literal police and policing as a concept as something that is inherently neutral, likening it to the mantle of Spider-Man where they simply have power that they have to use responsibly, and that there are just "bad apples". But the way that Spider-Society operates quite closely parallels how policing and criminality work: you have a bunch of spiders go out and detain people and send them where they're "supposed to be" under the guise that a) the order of things will essentially fall apart if you don't, and b) there is a specific way that your story is supposed to go, and you should be willing to sacrifice lives to maintain that status quo. There's also the categorization of those who break those rules as an Other (anomalies), and the fact that Spider Society reacts to the presence of the anomalies instead of addressing the thing that created them (the collider. HELLOOOO). With all that being said, Miguel and the rest of Spider Society are clearly framed as anatgonistic forces by the film and even has a punk anarchist character calling them out and being right about it. The movies simultaneously critique policing metaphorically through Spider Society while trying to justify it in the real world.

Girl where is Pavitr. His character is literally perfect for Miles to interact with, but we don't see him again until the very last scene. Same thing with...literally everyone we just met. The movie is over two hours long, where did all that time go--OH WAIT

Gwen and the scene with her dad take up wayyyy too much of the movie's runtime, I'm sorry. We spent the entirety of the beginning of the film learning information about Gwen and her dad that could've been quickly conveyed in much less time. Not to mention that, apparently, Mr. Stacy literally gets fired in the comics for letting Gwen go, so that whole plotline didn't even need to happen. Why change that? To say he's a 'good cop' that does his job? The trauma of losing Peter would've been present in her story either way.

The art style. No, this doesn't mean what you think it does. I do not have an issue with the 3D and 2D hybrid style of animation obviously. Spiderverse has literally revolutionized the field, but there are some limitations to it that were made especially clear once TMNT:MM came out. You may or may not have noticed, but isn't almost everyone in Spiderverse...kinda gorgeous? Hear me out here. Someone has pointed this out before me, and it really changed the way that I look at aesthetics in animation. In Spiderverse, everything from the environments to the way that things are shaded and colored is extremely stylized and pushed quite far...until you get to the main characters. Yes, there is diversity in features the likes of which we haven't seen 'till recently, but I'm purely talking about the style in which they're drawn. Compared to everything else, they look closer to something Disney or Pixar might produce. This is not inherently problematic or "bad", but I do wonder how much cooler and cutting-edge and comic-y we could get if it wasn't so pre-occupied with beauty. You can disregard this one, it's just a thought. Apparently the idea that not every cartoon character you see on the big screen has to be hot makes people very angry.

I think those are all the big ones. I'll reblog with new additions if for some reason I come up with new things to complain about lmao

[iravaid]

(in reference to your reblog)

I would absolutely love an exhaustive breakdown of all of your decisions regarding ‘Simon Riley in Situations’

That series consumes me. Much like in the way that Simon was consumed by the desert. I have been fundamentally altered by it.

Oh my god, genuinely thank you so much for asking

This became a very long set of rambles that I have two split in two, possessed by the talk too much demons... sad! Here is the first part, the second part I'll tack on in a later reblog.

More below, I get a little bit Pepe Silvia in this, but oh well lmao

An Introduction

I’m going to preface this with stating that the comics are bad. On an artistic and writer’s standpoint, their net value is negative. I have read those six wretched issues at least seven times through and feel confident in that assertion. I have no idea why people think they’re actually good, in the face of muddy rendering and an overall displeasing art style, Americanised writing with poor panelling and pacing and dialogue, among other torture-porn related things.

That being said, there are moments of competency that shine through, past the early 2000s edge and casual sexism + racist stereotypes, which in turn irritates me because it does show there could have been a better story here. And Yet. But the comics have been a well of spiteful inspiration, first with Except You, and second with In The Desert (and perhaps more to come), and I do want to talk about that. (and I do know that the comics aren’t necessarily canon for the reboot Ghost, but like. C’mon. Work with what we’ve currently got. Even if my money is on Makarov in the reboot having something to do with Ghost’s past, considering the knowing look he and Price share upon seeing the photo.)

Simon is a character that has been doomed by the narrative since day one, and while it would not be a surprise if he survives MW3 on account of the company wanting to make money off his multiplayer counterpart, there is a certain compelling grief in knowing his fate was always going to be how it was in the original trilogy. Simon suffers: Simon dies; Ghost suffers: Ghost dies. There is no other way this story ends. And there is something about the cyclical nature of his life, and patterns to be found in a such a story, which I think are extremely fun to try and enforce, as well as emphasise. It’s this, among other things, that makes him a compelling character to me. Well – that and him being tall, built like a brick-shithouse, gravelly voice, wears a skull mask, has a strong sense of loyalty and compassion for fellow soldiers… (but that’s beside the point!!!!).

The things he went through in the comics had occasionally been so over the top that I need a moment to stand back and go ‘… really? Like. Really? After all that, you put him through more?’ after every reread. It’s not enough that his entire family was murdered but also his psychiatrist and superior officer, and so on and so on. But unfortunately, I have to reiterate that the comics have been a source of inspiration. ‘Simon Riley In Situations’ is an extension of this spiteful motivation to retell/improve upon what the comics were trying to do, as well as occasionally extrapolating on them, or even warping canon to better accommodate my own headcanons/the rebooted universe.

I love stories were a main/side character goes through an incredible change, to the point where they’re noticeably and irreparably different to how they were at the beginning of the story, for better or for worse. Examples that come to mind, currently, are Jinx from Arcane, Zuko from ATLA, Ahsoka in Clone Wars, Steve from Stranger Things. To me, the transformation of Simon into Ghost is something very compelling. The Simon Riley that’s about to fly to the states with Major Vernon is a man very, very different to the Simon Riley freshly recruited into the 141 by Shepherd. But fundamentally they’re still the same person, and that can be an important facet for a big change in a character imo.

I like using a lot of poems and songs and the occasional bible reference in my works. I know it’s fanfiction and maybe for some people that’s overdoing it, but I love it. I love how art informs and inspires itself, and I love using the inherent emotional and cultural connections attached to a specific work in order to enhance that of my own writing. I think it’s good practice, and maybe it doesn’t matter that it’s expressed in the form of fanfiction. I’m a better writer because of it, and that’s something of significance to me: I never studied English lit/creative writing at a higher level of education, so this is where it will be expressed.

Skulls, Death, and the Ghost

Skulls haunt Simon throughout the comics; in turn, Simon has been haunted by the Ghost he’s doomed to become for a very long time. Roba wears skull face-paint when torturing and attempting to brainwash Simon, Simon’s father used to wear skull face-paint when performing, Simon smeared toothpaste on his face when in recovery from Roba’s captivity and it resembled a skull, Tommy wore a skull mask to emulate his father, and Simon hallucinates skeletons/skulls at different points in the comics. Finally, when his family are killed and Simon goes on his revenge mission, he wears the same face paint as he did during Día de Los Muertos when Roba captured him. He claims that the brainwashing didn’t ‘work’ (as the comics put it), but here Simon is, wearing the same mask as his tormentors. I wanted to stretch that recurring imagery by adding the vocalist wearing the skull face-paint in chapter one of Except You. Something there about returning to form, or perhaps finally looking back to see what exactly is that thing who’s been lurking in the back of your mind. I describe the skull reoccurring as “morbidly familiar” in that this has always been Simon’s fate, and it doesn’t matter what he does to try and escape, because he will always return to it.

It can also be stretched to symbolise his close relationship with Death. Simon has ‘died’ a lot of times in the story. At first he believes he’s dead on a subconscious level (nightmares with Roba’ saying he killed him), but then issues 3+4 happen, and that belief escalates into a conscious conviction that he died on the concrete floor in Roba’s captivity; he died out there in the desert; he died surrounded by his family’s corpses on Christmas; he died the moment he killed Roba; he died for good at the end of MW2. Roba killed Simon, and Ghost put whatever ‘Simon Riley’ once was to rest in the funeral pyre of his childhood home. Ghost has always had to everything on his own up until this point: even give himself a proper sendoff. A part of me wonders if Ghost believes himself, on some level, to be the keeper of Simon’s memory and identity. That is what a ghost is, right? The thing that lingers after a tragedy.

It's something incredibly interesting to consider present-era Ghost. Does he still think he’s dead? Is he waiting for the rot to set in? Has he been so dissociated from himself for so long that he doesn’t know how else to function, and on some level is terrified of what might happen, should he in turn look back to face whatever is left of ‘Simon Riley’? Maybe Ghost can be interpreted as the one that came back ‘wrong’, and he’s waiting for other people to notice that there’s nothing left but a corpse. He has gotten very little help by way of therapy/counselling, and probably doesn’t have the tools nor language at his disposal to neither work through these things, nor know how to voice them in the first place. That’s one of the reasons I wrote Simon as not fully aware of the definition of ‘child abuse’ and how it related to him. He knows Nigel (his father) was a cunt and a wifebeater, but he doesn’t know those necessary psych terms to properly begin processing what happened to him both as a child and adult, because who could have taught him? He never got the chance to go to DBT or CBT, and that hazy moment of time with Dr Halloway probably wasn’t conducive to learning about things like CPTSD and trauma and abusive households. I tried to extrapolate this, with Simon’s internalised ableism also being a block to fully accepting or even processing those terms. He’s in a lot of pain, and he very, very desperately wants to move on, to return to how he used to be before all of ‘this’. Will talk later on about how the military factors in to keeping the status quo of ‘the Ghost’.

In tarot (love you tarot love symbolisms in it love when it’s used in media mwah mwah), the death card symbolises major change, rebirth, and endings and beginnings.

If anything, Simon Riley is defined by his deaths and rebirths, how he keeps forcing himself to change in order to survive a brutal narrative set for him. And Ghost, who bears a skull-face not dissimilar to the grim-reaper, perhaps wears this taboo symbol to ward off ‘evil’, or to use that fear in order to keep people at arm’s length, in response to these injustices done to him by fate and the machinations of people far crueller than Simon. He has been through a lot, and still he keeps moving, keeps completing missions and being a ‘good soldier’, because that’s all Simon knows. He’s like a shark in that way, or a well-trained dog: he was never taught, nor given the chance to learn, how to not be a soldier. This is something me and @narramin, affectionately refer to as hound-coding, which, god, really suits Simon. Will talk about it further on.

Roba Himself

Manuel Roba is certainly there. It’s honestly incredibly disappointing to see how this specific character was handled, how heavily the writers leaned into stereotypes to depict Roba – there’s a panel of him holding a burrito for fuck’s sake. This caricature of a villain is both lazily written, but also serves to reduce the impact he has on Simon. This man is supposed to be the primary antagonist, above Simon’s abusive father. He is the reason that Ghost exists, the reason the Riley family are dead, and can be considered the primary catalyst for most of the comics’ plot. And yet this man, and all that he represents in Simon’s suffering, is reduced to the fat ‘El Gordo’ with dialogue lines that are ultimately meaningless, a personal motivation that is only said in his dying breath without further exploration, and ultimately is a villain without any teeth. I think Roba has the potential to be a terrifying figure, one this kind of dark story needs in order to ensure that Simon’s suffering isn’t made a joke when compared to the one at the source of it all.

There are moments of competency and personality that shine through here and there. The pink deck chair in the sensory overload room, the ‘plant flowers over [the grave]’ line, as well as Roba choosing to make himself appear as the grim reaper himself as a way to express ultimate power over his captives’ lives (and, in turn, Simon killing Roba and choosing to don the skull-face could be seen as him taking that control back).

There is a set of panels, one from issue 5 and another from issue 6, that piques my attention when placed together (seen below). Simon has tried so hard to convince himself and others that he is fine, that Roba’s brainwashing failed, that he is not deeply affected by the seven months of torture and humiliation and dehumanisation. But then he comes back from the dead wearing the same face-paint as Roba. He refers to himself as death, as does Roba. That man has his claws deep in Simon, and Roba knew this, and he died with a smile on his face because of it. As quoted by his final words: in the end Roba is just one man. Killing him won’t bring back the Rileys and it won’t stop the pain Ghost is in (but by god is it Ghost’s right to put that man down for what he did to him.).

The following paragraphs will discuss the torture Simon was subjected to in Roba’s captivity and features discussion of the sexual assault he experienced, as well as being him drugged + detailed acts of dehumanisation. The section itself will be bracketed with a ‘-’, feel free to skip to the final paragraph marked of this section if you’d prefer.

-

In my writing I want to show a competent, terrifying Roba. He should be purposeful in how he goes about breaking these men down in order to build them up into the dutiful hounds Roba so obviously wanted. That’s part of why I think, and wrote, Roba having never touched Simon, he made sure it was his men assaulting Simon while he watched (for one reason or another). And when they were finished Roba would try to manipulate the situation into one being Simon’s fault and that Roba, and only Roba, could fix for him. Simon needed to see Roba as the one with the power to control all these awful things happening to him, and that his own obstinance is the reason he’s suffering. Roba would make an offer – if you listen to me, follow what I say, I can make this stop. I can stop them from touching you ever again. It’s purposefully and insidiously phrased, he’s trying to make all this seem like Simon’s fault for not ‘giving in’. In turn, the prolonged torture and dehumanisation would best be served as well-thought-out tactics.

I’m not a fan of how every other captive was noted as too ‘weak’ or whatever to hold out against all that Roba was doing to them, only for Vernon to say that his methods were ‘genius’ – not with a near 100% mortality rate it fucking isn’t. It would be interesting to explore a fic where Roba was actually competent enough for those aforementioned super soldiers to be a real thing (and we’ll make death proud of us touches on this very well I recommend this fic). But, regardless, I find exploring the ways Simon could have been dehumanised/tortured without succumbing to infection or shock or a sudden heart attack from the sheer amount of stress and trauma to be morbidly interesting. I’m a morbid person, so this tracks lmao (it’s regardless a matter of balance, though, because we’re trying not to fall into that Edge the comics loved so much). I also want to note that Roba rarely, if ever, called Simon by his real name. It’s always ‘English’ or ‘Mr. Death’. A name is a powerful thing to control, stripping a person of their name is a common dehumanisation tactic, one that even the military has been known to use in order to get all these individuals into acting as one mass. It’s also a sign of non-acknowledgement, in my eyes. Simon was not a person to Roba, not really, just a dog that needed moulding. In a way, Ghost referring to himself as ‘Ghost’ may also be a tactic to distance himself from Simon in order to cope with the Everything that’s happened to him.

The next point is just as important as the prior ones: what kind of effect would all this have on Simon in different stages of the comics? And what kind of inner monologue and mindset would he have in order to endure these awful, awful things? And how would he heal from it, considering how the events of the comics went down? He has no control over the situation as a whole, but I imagine that Simon is the kind of person to try and grasp for anything to have control over regardless – he’s exhausted but he still might try to lay in a way that keeps him protected or stills his roiling gut, he’ll occasionally still try to lash out against the narcos, he’ll try and joke with Sparks and Washington in order to help them cling to their humanity (as well as preserve his own identity as a protector, which I want to get into later). He especially utilises dissociation as a ‘tool’ developed from living under the same roof as Nigel Fucking Riley. It provided a very necessary reprieve, and Simon probably believes he’d been ‘broken’ by his father long before Roba ever got his hands on him. Simon at this point probably (maladaptively, in the long run) perceives his ability to dissociate from the body to be a way to control what he truly feels. He can get some kind of control over experiencing multiple instances of sexual assault, over MONTHS, by creating a clear delineation between the body and the person. I wonder if this laid the groundworks for the self-perceived split between Simon Riley and Ghost.

He’s out of that place, Roba is dead and whatever was left of the Zaragoza cartel is hopefully long gone. But where does that leave Simon, whose primary coping mechanisms are either feeling horrific, yawning numbness, or forcing all that pain and fear and humiliation into over-powering anger? All these things kept him alive then… but now what? He has been subjected to a horrific slew of experiences in seven months, over two-hundred days. How do you approach that kind of deal and unpackaging and addressing of that trauma? It’s something in and of itself would be a compelling story to tell, especially with his childhood trauma informing how he processes those experiences. Simon has been physically and psychologically changed by Roba, even if he tried to ‘resist’ – even though interrogation resistance training only lasts for so long.

Sometimes I wonder at what point did Simon realise they weren’t torturing him for information, but to make him into something that wasn’t human. At what point did he realise that there was a reason they made him crawl down the hallways on his hands and knees with a collar around his neck, or that they fed him dog food off the ground, or that he might have been kept in retrofitted dog kennels, in a long-abandoned dog fighting pit.

I wonder if there were times he wished he’d just let go and listen to Roba, and kill the people the latter wanted him to kill; just so that the pain would stop, and he could be more than this thing surviving on the concrete floor. Very interesting to consider, what with the comics implying that Sparks and potentially Washington were also drugged in order to force a dependence on them, as a way to further exert control over them. I’m not sure why Simon didn’t also experience this. Yet another Comics Cringe Moment.

-

Ultimately, when I see Roba I think of a Judge Holden-esque figure: an intelligent man who has taken a step back, looked at the violence of the world, and ultimately came to the conclusion that, 1.) It is in man’s nature to wage war and be violent, and 2.) It is Roba’s right to control that flow of violence. He had Simon, Sparks, and Washington, and others who came before them, tortured, brutalised, dehumanised, starved, assaulted, and vivisected with intents to brainwash them into his own personal soldiers/bodyguards. He wanted to perverse nature and control something that was never his to control, and I think a character like that should ooze calculated cruelty and a disdain for the optimistic/what he perceives as weak. It’s a dog-eat-dog world, in Roba’s eyes, and he wants to be the one holding the leash.

Dogs and Hounds

Speaking of dogs, let’s get into hound-coding. Dog/hound/wolf metaphors are used for characters in a plethora of ways: dogs and other canines are embedded deeply in a lot of cultures and that can be seen in how disparate a dog can be used in symbolism. The rabid dog that requires put down, versus the loyal-to-a-fault dog whose diligence will be its downfall. The dog that hunts you down relentlessly against the dog that protects and nurtures. Vicious and borderline obsessed, pursuing a singular goal with tunnel-vision; dangerous predator stalking you from the shadows; wholly dedicated to a sole purpose in life; kicked to the point where anger lines their teeth and they meet the world with a bite, because they’ll never let anyone hurt them again; a caregiver and teacher, sometimes even a leader that will look out for who they see as family.

With Simon Riley, I feel he is a hound, the kind that’s been kicked enough times to know to bite first and ask questions later – but can someone please be gentle? Please, can’t someone let him rest? Then the narrative slaps his muzzle and tells him the story isn’t done yet. Simon, off the coattails of escaping his childhood home as a teenager, finds purpose in the military and clings to it. So much of Simon’s identity can be tied to him being a protector, as well as a soldier; he’s proud of his achievements within the SAS, cocky, even. He is well trained in violence and well experienced, too; he’s risen above to make a reputation for himself as a tough sonofabitch within the SAS, which is pretty famously full of that type of person.

The dog can be moulded into a lot of different things in fiction, just as it has in real life. So can Simon, so can Ghost: he’s a character that has been subjected to extreme kinds of change, with some very clear distinctions between Pre-Roba Simon, During-Roba, Post-Roba, Post-Family Massacre, and Post-Jungle Raid. That’s one of the reasons why I think the dog metaphor, and its imagery, can provide very impactful parallels for Simon. What is a dog, if not loyal and loving? Didn’t we make it that way? And what is a dog, if not defined by the job it can fulfil. We made it that way. What use is Simon to the military, if he won’t do what he was trained to do. I wonder if he worries about that in between missions: losing his purpose and identity one way or another.

Ghost is a good leader; he knows how to direct a team and how to keep Soap calm during the chaos in Las Almas. I imagine he found sanctuary in the camaraderie that can be found in a military environment, compared to his chaotic homelife. He doesn’t necessarily have to be open about it, or all that externally happy. But it’s regardless a community that has provided Ghost with some form of support (ironic, again, considering it’s the military, but that is how it works). Like a pack animal, one might say.

His potential relationship with Soap, if people take it that way (I do and will be talking about it more later #peaceandlove), reminds me of the poem ‘bait dog’ among others, here's an excerpt from the end of it: “And she still flinches / When I reach to pet her / but she smiles / once I get behind the ears / you will not heal from everything / that does not mean / you will stop being loved.”, and I feel that’s a very lovely image when applied to Soapghost, y’know? Simon has been through a lot, and Soap is emotionally mature enough to recognise that and give him space, while still putting in that necessary work to bridge certain gaps. Kind of like the slow burn of getting a rescue dog to trust you, except it’s your human superior officer with CPTSD and an edgy comic book backstory. They will doubtless have issues and bumps in the road, but they’ll also have shitty jokes and a lot of patience to keep things buoyed. Love wins or WHATEVER.

Roba tried to make Simon into an attack dog, too. Treated him like one, and I imagine there was a point where Simon was starting to believe it. Then he gets buried alive and has to dig his way out. He has to drag himself through the desert (more to come on that) and survive months of recovery until he has a chance to return to the state he physically was. I imagine this time of injury was awful for Simon: he felt incompetent on top of the other churning emotions one would have after surviving so many months of All That. Simon, I imagine, has always defined himself by his ability to provide, protection or otherwise, as well as his own physical prowess. It’s what kept him and his family safe all this time. It also led to him being picked for that fateful mission. I think Simon is a man shown to be capable of that single-minded focus of a hound that’s caught the scent, especially when he spent months tracking down Roba in the jungle.

Simon is a dog constantly having to remember its teeth. There is a lot to be said about dogs that learn to bite back.

I have reached a character limit here but still have a lot to talk about, please hold (and tysm, again, for the ask)

[breserker]

i've been thinking hard on why the post-Team Silent SH games just feel like they don't fucking work at all and I genuinely believe it's because they gravely misinterpret what the multiple endings are supposed to do.

With the exception of the total joke endings which you must go out of your way for sometimes in convoluted ways, the alternate Silent Hill endings do not fundamentally change the story. Harry still finds out what happened to his daughter, James still goes through the same journey as does everyone around him, Heather still kills God as a final boss, Henry still confronts Walter after finding out what he intended to do to apartment 302. The endings just change the outcome, the epilogue, the "what happens next" question.

Meanwhile, because in writing this sh4 fic I realized I had never finished Origins, i look up what's the deal with Travis and...he could either be a totally normal guy OR A FUCKING SERIAL KILLER, and while there are things you do in the game to get one or the other there's like. no way that just doesn't fundamentally change the story being told. And since the games were developed with some semblance of a canon throughline in mind, one ending becomes infinitely clunkier than the other and in its worst cases (Downpour, for example) spits in the player's face for wanting to engage with a complete, coherent story. (Murph totally killed his son! Oops no he totally didn't. Well it doesn't matter because other people think he did. but wait, if you did this one thing, then yeah nevermind it was all true/false all along)

I think this paired with the immensely dionysian approach to writing human beings (while I'm usually an advocate for the dionysian, the post Team-Silent games do not do this well and I mean it derogatorily) makes for what feels like an edgelord experience that thrives on what's the most shocking/wild pulls we can have a player do instead of telling an actual story.

And I think this really messy approach to storytelling by mixing it up with the freedom of video games is why so much of the games just didn't resonate with people on the deeper level that the Team Silent games had. I really wanted to like Murphy but I can't tell you a damn thing about him in confidence because depending on what you do he becomes just a totally different person; he could either be a mourning dad who cut his own losses to imprison himself to avenge his son and the rest of his life be damned, or he could be his son's fucking murderer and it was all a convoluted ploy to incriminate someone else for his son's murder. Who's Murphy Pendleton, then?? His anger in one scene can be totally unchanged from run to run but the contextual interpretation varies so greatly that his anger could come off as a hurt father who lost his son to like. Sinister killer.

The fact that a lot of these games came out during the rise of mystery box style storytelling in the west isn't lost on me either. It's just such a shame because so many of these games have...fine frameworks? Some of them fuck them up more than others (Alex as a veteran being a total lie was..............A Choice) and I didn't include Shattered Memories because while that also bungles its own narratives over and over like Downpour, at least it said that on the tin and was kind of openly experimental in that regard.

PostScript: I know I wanted to bring up Travis's backstory as an example of weird dionysian human beings, and contrast that to Walter's weird ass backstory, and trying to figure out why one succeeds at its grotesque weirdness where the other feels like that Edgelord approach of ohhhh yeah you're just. Puttin' anything on the wall to get a reaction. But I can't figure out where to fit it in here and I think the multiple ending fuckup is a less subjective issue.

[reelvibes91]

Batman: Caped Crusader Review

Batman has probably the deepest rogues gallery in all of comics. Oftentimes, when depicted on screen, the focus has been on a core few. With Batman: Caped Crusader, we step away from that and get some focus put on different characters. How does Caped Crusader stack up against other iterations of character?

This version of events is unique in various ways. Taking Batman back to a 40s Mafia setting was a nice touch. One that particularly helped lend to the investigative aspects of the character. It relies on good old-fashioned detective work instead of relying on modern technology.

The Batman/Bruce Wayne dynamic was handled well. Hamish Linklater has the task of living up to prior talent, and he does a great job. This is a Batman who feels more vulnerable and wants to keep in touch with his human side. It has always been his allies that ground him, and this version really allows the relationships Batman has form organically. He has to establish those links over time and knows full well these tasks can't be accomplished on his own.

There can't be a discussion about a Batman series without the villains. Here, we treated to a wide array of villains. Two standouts immediately are Firefly and Harley Quinn. The episode featuring Firefly was the most visually stunning of the entire series. By far, I stand out in that regard. Why Harley worked so well is the changes made to her origin story. This far into the characters' existence, it was a refreshing take and one that kept the fundamentals of the character in tact.

The only real issue of the series is a general lack of pacing. Some episodes hit very hard, and others were just the middle of the road. That is the hard part of trying to tell a complete story within a 25-minute episode. There really is no room for the additional subplots and working out enough growth for everyone. Catwoman and Onomatopoeia were the weakest links in terms of the villains because their presence does not matter to the overall plot development. Catwoman is all stuff we have seen before, and with the Onomatopoeia stuff, it felt completely like a filler episode.

The writing on this show was very well thought and executed with the mafia and overall look and feel. There is so much potential for future seasons of this show to capitalize on villains who need redemption. The potential and ceiling for this series are limitless because we know they are willing to make changes to classic villains. This show did in a way that elevates the character and does not take away why we love them. That is the key to enhancing any long-standing character. Make them your own and find a way to set yourself apart from other versions.

One last thing is that this show really proved why animation is much easier than live action. Live action takes on creating certain aspects of characters, which have translated to some ridiculous looks. Here, they were able to finesse together some new looks and new styles and blend them all together. Some of these scenes and new looks likely would not have created the same atmosphere in live action. That's not to say stop doing live action but more to say use animation to do things that are harder to create in live action. It was stunning to see some of this come to life the way it did. It feels the same way across all animation that has excelled at telling rich and deep stories.

[thecarnivorousmuffinmeta]

Assuming Aro and Carlisle were both on the same dating app, what are their profiles like? Ie, how do they present themselves to attract others (and I know they're already in relationships let's just blame the dating app gift vampire).

Bonus points for Elezear because he's the worst.

I want to know what AU has caused vampire dating apps.

I can only assume we're in one of those cutesy AH AUs where Carlisle is a barista (not allowed to be a doctor anymore) and Aro is a cutthroat lawyer at his practice Volterra, and the pair totally aren't into each other except they are and find out over the course of thirty chapters how these two get together over hard to remember coffee orders!!!, or as you say the Dating App Vampire, we'll call him Larry the Lovebird, has used his gift to bless every vampire with profiles.

But alright, I can pretend this is another blog for a moment and that I do write Ao3 fics instead of eldrtich monstrosities.

Aro

We know from Aro's hunt for Sulpicia that he was looking for a very specific kind of person and not afraid to shop around to find them. More, with his gift and long life, I imagine he'd be less willing to discard someone based on things others do (having a degree is not a sign of intelligence, he doesn't really care what class someone is from, so on and so forth). I imagine he'd take a similar approach on a dating app. Except, in the most ridiculous way possible.

See, Aro's going to want to cast a wide net and he has his gift to cheat.

So, he's going to make himself as interesting as possible, certainly non-threatening (me? ever kill someone? perish the thought) just to get that first date where he can touch your hand and decide "yes" or "no" based off of every thought you've ever had.

Now, he can't do "generically" interesting as in online dating culture "long walks on the beach", "love hiking in the mountains", are all things everyone says they do but 5% of the people who actually say it do. He'd not only look basic, but he'd look like a liar (which he is).

So, I imagine what Aro does is present himself as a very niche persona then change that persona every few months in the dating rounds.

One month, Aro's really into heavy metal, really, super, into heavy metal. His profile is a bunch of quotes about heavy metal. The next, he's a gym bro. The next, he's a lover and poet.

Mostly, Aro just uses it as a way to meet interesting people, get interesting stories, and troll around while keeping an eye out for someone he'd actually find interesting.

(Though the real answer is that he wouldn't, as he already did this thousands of years ago with Sulpicia, and it doesn't seem like a hobby he'd pick up in this modern day.)

Carlisle

He fundamentally does not understand dating apps and has no desire to seek someone out in a relationship "oh ho ho, have I told you about my baggage where I'm a man-eating demon who can never get close to everyone, survives constantly starved, and more?"

I imagine his app is just his name and his face.

That's it.

He looks like a lazy attempt at cat fishing.

Eleazar

Now, I don't know about Eleazar, his participation in the Denali escapades is technically up in the air, but I know the Denali would likely have dating apps.

But if Eleazar had one, if we're going wtih my interpretation of the worst man alive, then it is a sight to behold.

Eleazar in leather pants with a rose between his lips (he is Spanish you know) lying on a couch looking at the camera seductively behind a black and white filter (partly to make him look less like a demon, partly for the sexy). Eleazar shirtless in front of a mirror in an artsy shot that looks either out of a style magazine cover or the film Zoolander.

All the quotes amount to "I will blow your mind", but said more eloquently and often in Spanish.

[galindathropps]

i had a big brain moment on the way to work

by which i mean i'm once again going to dx one of my comfort characters as having bpd traits

Spike aka William the Bloody (BtVS)

He's messy, he's passionate, he's malleable! He was a shy, rejection-sensitive poet until he became an overly charismatic, rejection-sensitive killer! He thinks love is everything and gives his many lives meaning! But sometimes that love is not love, it's passionate infatuation and involves repeated unwanted pursuit behaviors (aka stalking). His alliances, stances, loyalties, feelings can often change quickly on a dime! He literally took a coat from someone else and made it his whole look and personal signature style (bpd mirroring behavior to an extreme). He was enmeshed with Dru, hot and cold (mostly cold - abusively so) with Harmony, wanted to be enmeshed with Buffy, did get enmeshed with Buffy through an unstable, destructive relationship. He can be myopically focused only on his own needs (granted he IS a vampire) and fail to see others' unless the situation doesn't involve him, then he can see it more clearly than they can (lovers walk). He has weird chemistry with almost EVERYONE (Xander, Angel) because of his superficial charisma!

He splits (quickly vacillating between adoration/idealization and hatred/devaluation) on Buffy in a big way. She's the ideal women, she's the 'bitch' who won't let him take a stationary 'walk' outside her house every night (ie watching/stalking her), she has 'stupid hair', etc. He does this to Dru as well in "Crush" and Harmony on a regular basis (she's his 'baby', she's an 'idiot', she's adorable, she's his punching bag, etc.)

But most notably: he slides into a LOT of different roles in the show. He's villain, lover, hated ally to buffy in s2, annoyance and philosopher in s3, partly neutralized enemy and thanksgiving dinner 'guest' in s4, stalker and sometimes ally in s5, abuser AND abused in s6, serial killer AND redemptive sacrifice in s7 - then ghost turned ally/comedic sidekick turned final battle warrior in Angel S5. Yes, most of this is due to the writers trying to find ways to use James' appeal as an actor throughout the seasons without having to kill off the character, and reportedly it was difficult to integrate him into the plot in a way that felt organic starting in S4. But the end result of this, factoring in James' chameleon-like and committed performances, is that Spike is a LOT of things and slides into these roles with ease even if they don't fully 'fit' him in a way that feels essential to who he is. That's malleability - that's something people with BPD traits can exhibit and even struggle with. Lack of cohesive sense of self -> trying out different roles based on whomever you are drawn to or idealizing -> altering behavior patterns, style, mode of personal expression, etc.

But most convincingly, his entire identity is based on the strength of his emotions and attachments. They take him down so many paths and change him fundamentally as a person. First Dru then Buffy, from being seduced into becoming a great evil to ultimate sacrifice for love and the forces of good. His entire philosophy of life is that it's driven by romantic passion:

“You're not friends. You'll never be friends. You'll be in love 'til it kills you both. You'll fight, and you'll shag, and you'll hate each other until it makes you quiver, but you'll never be friends. Love isn't brains, children, it's blood - blood screaming inside you to work its will. I may be love's bitch, but at least I'm man enough to admit it.”

Listen when I was 14 I was like "huh the excess grandiosity and passionate yet unstable affect and behavior are a vibe here"

And 20 years later I am aggressively tackling my own bpd traits through all the therapy. But was Spike an early awakening of the fact that my emotions run deeper than I'd like? Maybe, maybe not. Still an interesting question.

NOTE: This is just a headcanon/fan analysis using a framework familiar to me. I am NOT seeking to babygirlify or absolve any of his terrible behaviors. I think much of the show is resonant with viewers because many of the characters have a dark arc at some point. Willow is for the perfectionists who hurt themselves and others in their pursuit of avoiding painfully imperfect situations and their own errors. Xander has hero moments but also deep insecurity from his family trauma and a toxic possessiveness of women. Buffy shoulders the weight of the world but finds it hard to express things that torment her internally with those whom she loves. Angelus is the PERFECT metaphor for the cruelty of a first boyfriend who grows cold and abusive after physical intimacy. The show takes us to VERY dark places - and ultimately that is what I take from it, not one relationship, season, or storyline.

[pochiperpe90]

[ENG] Luca Marinelli: "I'm a candidate for the David, I love uncomfortable challenges. And in Spoleto I will make my debut as a director, in theater"

Shy, solitary and light-hearted, the Roman actor has become one of the reference points of auteur cinema: "There are also Ficarra and Picone in the running for the most important prize in cinema. Those who raise fences against comedians have understood nothing".

With his big rapacious eagle nose rising above an astonished and emaciated expression, Luca Marinelli loves characters to climb, all energy and restlessness, as happens in Le Otto Montagne, a journey towards the absolute. It's the film for which he's nominated for the David di Donatello (with the other protagonist, Alessandro Borghi). Shortly afterwards, on July 8th at the Spoleto Film Festival, the 38-year-old Roman actor, who has become a point of reference for the auteur cinema, will make his debut as a director, in theater, with "A Report to an Academy", based on Kafka's story.

Marinelli is an atypical Roman who moved years ago to Berlin for love, a city that "stimulates the creative dimension". Shy, reluctant to talk about himself, cautious and ironic, solitary and light-hearted, he calibrates his words with the rhythm of a fifteenth-century monk amanuensis. He was not admitted to the Experimental Center of cinematography where he told the commission that the film of his life is Batman. He took his revenge in the field in projects that few believed in, in the part of the criminal in Lo chiamavano Jeeg Robot and the junkie in Non essere cattivo. In Venice he won the Coppa Volpi for Martin Eden. He would love to talk only about Kafka.

What strikes you about this text, which is almost an existential labyrinth?

"I saw it in Paris many years ago and I was struck by it. I think of the truth, despair and lucidity in speaking metaphorically about the condition of existence in society. The monkey was taken from its context and forcibly taken elsewhere and from this "new life" it speaks to us. In the text, the monkey is a narrator who speaks of a way out at a scientific conference, of the need to find a solution to the problem of imprisonment but without getting lost behind the concept of freedom, too often used in an elusive way, creating many problems to human beings".

Kafka walks on the border between animality and humanity.

“He learns human behavior just to get out of the cage. It's a matter of survival, rather than freedom. I thought several times about acting it myself, but I saw Fabian Jung perform with his vibrant soul at his graduation essay at the Ernst Busch school and I asked him if I could be his director".

What will be seen on stage?

"A well-dressed being who tells the academic audience about his journey, from his previous life as a monkey to today, with his appearance and his behavior quite human, such as to be able to have some success".

A metaphor for the human condition?

"It's a metaphor for many things, including existence, how we behave, what we believe in. And much more. If the monkey is Kafka, in feeling different that has accompanied him throughout his life? I don't allow myself to interpret it. I like his style and what he communicates, his gaze on society".

The protagonist in Spoleto is a German actor.

"Well, the aspect that I find interesting is that Fabian Jung recites in Italian not knowing a single word of our language. He studied this monologue from scratch. It's a similar situation to that of the monkey. The fact of approaching the text as a sound or a rhythm was fundamental. We did a rehearsal in Berlin for some friends and family."

After the theatrical direction will you make one at the cinema?

"In the meantime, let's see how this show will be received. I don't hide being very worried, but it's a feeling I like. Not being comfortable is a quality I appreciate. Directing a film would be another beautiful and uncomfortable experience".

Let's change subject. What does the David nomination represent?

"It will be a pure emotion, a beautiful evening full of colleagues I love and with whom I have shared a part of this job. Alessandro Borghi, for me, is a brother".

Does the presence of Ficarra and Picone mean that prejudices and fences are falling on comedians?

"Those who have prejudices and raise barriers against comedians have understood nothing of the art of acting".

Apart from Batman, another idol of yours was Indiana Jones.

"Because as a boy I wanted to be an archaeologist. Today my archetype is writers who want to enrich themselves by traveling. But I am in love with my job and I feel lucky to be able to live what I dreamed of as a student at the Academy. I see this work as a great opportunity for exchange between human beings".

You have already been to the Venice Film Festival five times: what would you change about festivals?

"I would remove the barriers to shake hands with the public."

Corriere

Like always, sorry for my English